Monte B Cowboy
Nov 27, 2013 7:00pm
Re: What am I thankful for? This new matrix, that's what
Cheers to Mr. Dusborne, Mr. Seamons, etc, and the Matrix community.
I just wanted to say what goes through my mind these days when I think about Grateful Dead matrices. Discussions about matrixing are nothing new on this forum.
GD's crew and GD's audience taped the band live. They recorded hundreds and hundreds of shows. Some SBD tapes sound very good, and some don't. Some AUD tapes sound very good, and some don't.
Toss aside all the recordings that don't sound very good.
Now match the show dates of the very good SBDs with the very good AUDs.
Toss aside all the very good recordings of shows that aren't played very good.
What's left in the pile are very good recordings of very good shows. These shows need to matrixed perfectly. Most importantly, each tape needs to be transferred to digital as perfectly as can possibly be done.
The SBD and the AUD need to be synchronized perfectly. Assuming the SBD's recording speed is the most speed and pitch-accurate of the two, the AUD tape should be synched to the SBD using the "resample" mode.
After the above steps have been taken, now it's time to matrix.
I want to hear the matrix mix sound like what it sounded like at the FOB's sweet spot when the show was played. That was the best place to hear the best sound, period. That's why the PA's sound and mixing console was setup there. A lot of tapers - myself included - went to great lengths to put their microphones in that spot, just in front of the sound board.
The problems are: a) the AUD is flawed in many ways, it's usually lacking some "crispyness", and sometimes certain instruments or vocals may be a bit weak in the PA mix; b) the SBD is not representative of the audience, it's representative of the SBD, and this is not the sound effect I'm seeking.
I'm not using synch-offsets for effects, nor am I adding any EQ to my tapes. Why? The way I see it, the band, their instruments, their sound gear, the sound crew, and the PA system already had the "right amount" of synch-offsets and EQ set. They were set the way they wanted them set. They set them this way because they wanted and intended for their music to sound and to be heard "that way". That's "the sound" that's going into the FOB-tapers' audience mics. That's my theory.
What I want to hear in a matrix mix is a perfect-sounding AUD that is coming from a perfect FOB source. This means the slightly-flawed, very-good-sounding AUD needs a bit of SBD mixed into it to achieve a perfect-sounding FOB mind-fuck.
Start by mixing up the AUD one-hundred percent. Then slowly start mixing in the SBD. Keep mixing in more SBD level until the AUD sounds perfect. That's what I'm looking to hear in a matrix mix. Acid!